205 research outputs found
Interactive Sound in Performance Ecologies: Studying Connections among Actors and Artifacts
This thesis’s primary goal is to investigate performance ecologies, that is the compound
of humans, artifacts and environmental elements that contribute to the result of a per-
formance. In particular, this thesis focuses on designing new interactive technologies for
sound and music. The goal of this thesis leads to the following Research Questions (RQs):
• RQ1 How can the design of interactive sonic artifacts support a joint expression
across different actors (composers, choreographers, and performers, musicians, and
dancers) in a given performance ecology?
• RQ2 How does each different actor influence the design of different artifacts, and
what impact does this have on the overall artwork?
• RQ3 How do the different actors in the same ecology interact, and appropriate an
interactive artifact?
To reply to these questions, a new framework named ARCAA has been created. In this
framework, all the Actors of a given ecology are connected to all the Artifacts throughout
three layers: Role, Context and Activity. This framework is then applied to one systematic
literature review, two case studies on music performance and one case study in dance
performance. The studies help to better understand the shaded roles of composers, per-
formers, instrumentalists, dancers, and choreographers, which is relevant to better design
interactive technologies for performances. Finally, this thesis proposes a new reflection on
the blurred distinction between composing and designing a new instrument in a context
that involves a multitude of actors.
Overall, this work introduces the following contributions to the field of interaction
design applied to music technology: 1) ARCAA, a framework to analyse the set of inter-
connected relationship in interactive (music) performances, validated through 2 music
studies, 1 dance study and 1 systematic literature analysis; 2) Recommendations for de-
signing music interactive system for performance (music or dance), accounting for the
needs of the various actors and for the overlapping on music composition and design of in-
teractive technology; 3) A taxonomy of how scores have shaped performance ecologies in NIME, based on a systematic analysis of the literature on score in the NIME proceedings;
4) Proposal of a methodological approach combining autobiographical and idiographical
design approaches in interactive performances.O objetivo principal desta tese é investigar as ecologias performativas, conjunto formado
pelos participantes humanos, artefatos e elementos ambientais que contribuem para o
resultado de uma performance. Em particular, esta tese foca-se na conceção de novas
tecnologias interativas para som e música. O objetivo desta tese originou as seguintes
questões de investigação (Research Questions RQs):
• RQ1 Como o design de artefatos sonoros interativos pode apoiar a expressão con-
junta entre diferentes atores (compositores, coreógrafos e performers, músicos e
dançarinos) numa determinada ecologia performativa?
• RQ2 Como cada ator influencia o design de diferentes artefatos e que impacto isso
tem no trabalho artístico global?
• RQ3 Como os diferentes atores de uma mesma ecologia interagem e se apropriam
de um artefato interativo?
Para responder a essas perguntas, foi criado uma nova framework chamada ARCAA.
Nesta framework, todos os atores (Actores) de uma dada ecologia estão conectados a todos
os artefatos (Artefacts) através de três camadas: Role, Context e Activity. Esta framework
foi então aplicada a uma revisão sistemática da literatura, a dois estudos de caso sobre
performance musical e a um estudo de caso em performance de dança. Estes estudos aju-
daram a comprender melhor os papéis desempenhados pelos compositores, intérpretes,
instrumentistas, dançarinos e coreógrafos, o que é relevante para melhor projetar as tec-
nologias interativas para performances. Por fim, esta tese propõe uma nova reflexão sobre
a distinção entre compor e projetar um novo instrumento num contexto que envolve uma
multiplicidade de atores.
Este trabalho apresenta as seguintes contribuições principais para o campo do design
de interação aplicado à tecnologia musical: 1) ARCAA, uma framework para analisar o
conjunto de relações interconectadas em performances interativas, validado através de
dois estudos de caso relacionados com a música, um estudo de caso relacionado com
a dança e uma análise sistemática da literatura; 2) Recomendações para o design de sistemas interativos musicais para performance (música ou dança), tendo em conta as
necessidades dos vários atores e a sobreposição entre a composição musical e o design de
tecnologia interactiva; 3) Uma taxonomia sobre como as partituras musicais moldaram
as ecologias performativas no NIME, com base numa análise sistemática da literatura
dos artigos apresentados e publicados nestas conferência; 4) Proposta de uma aborda-
gem metodológica combinando abordagens de design autobiográfico e idiográfico em
performances interativas
Two Shared Rapid Turn Taking Sound Interfaces for Novices
This paper presents the results of user interaction with two explorative music environments (sound system A and B) that were inspired from the Banda Linda music tradition in two different ways. The sound systems adapted to how a team of two players improvised and made a melody together in an interleaved fashion: Systems A and B used a fuzzy logic algorithm and pattern recognition to respond with modifications of a background rhythms. In an experiment with a pen tablet interface as the music instrument, users aged 10-13 were to tap tones and continue each other's melody. The sound systems rewarded users sonically, if they managed to add tones to their mutual melody in a rapid turn taking manner with rhythmical patterns. Videos of experiment sessions show that user teams contributed to a melody in ways that resemble conversation. Interaction data show that each sound system made player teams play in different ways, but players in general had a hard time adjusting to a non-Western music tradition. The paper concludes with a comparison and evaluation of the two sound systems. Finally it proposes a new approach to the design of collaborative and shared music environments that is based on ''listening applications''
faust2api: a Comprehensive API Generator for Android and iOS
International audienceWe introduce faust2api, a tool to generate custom DSP engines for Android and iOS using the Faust programming language. Faust DSP ob jects can easily be turned into MIDI-controllable polyphonic synthesizers or audio effects with built-in sensors support, etc. The various elements of the DSP engine can be accessed through a high-level API, made uniform across platforms and languages. This paper provides technical details on the implementation of this system as well as an evaluation of its various features
What does " Evaluation " mean for the NIME community?
International audienceEvaluation has been suggested to be one of the main trends in current NIME research. However, the meaning of the term for the community may not be as clear as it seems. In order to explore this issue, we have analyzed all papers and posters published in the proceedings of the NIME conference from 2012 to 2014. For each publication that explicitly mentioned the term "evaluation", we looked for: a) What targets and stakeholders were considered? b) What goals were set? c) What criteria were used? d) What methods were used? e) How long did the evaluation last? Results show different understandings of evaluation, with little consistency regarding the usage of the word. Surprisingly in some cases, not even basic information such as goal, criteria and methods were provided. In this paper, we attempt to provide an idea of what "evaluation" means for the NIME community, pushing the discussion towards how could we make a better use of evaluation on NIME design and what criteria should be used regarding each goal
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Rule-based performative synthesis of sung syllables
In this demonstration, the mapping and the gestural control strategy developed in the Digitartic are presented. Digitartic is a musical instrument able to control sung syllables. Performative rule-based synthesis allows for controlling semi-consonants, plosive, fricative and nasal consonants with a same gesture, despite the structural differences in natural production of such vocal segments. A graphic pen tablet is used for capturing the gesture with a high sampling rate and resolution. This system alows for both performing various manners of articulation and having a continuous control over the articulatio
Pocket gamelan: tuneable trajectories for flying sources in Mandala 3 and Mandala 4
This paper describes two new live performance scenarios for performing music using bluetooth-enabled mobile phones. Interaction between mobile phones via wireless link is a key feature of the performance interface for each scenario. Both scenarios are discussed in the context of two publicly performed works for an ensemble of players in which mobile phone handsets are used both as sound sources and as hand-held controllers. In both works mobile phones are mounted in a specially devised pouch attached to a cord and physically swung to produce audio chorusing. During performance some players swing phones while others operate phones as hand-held controllers. Wireless connectivity enables interaction between flying and hand-held phones. Each work features different bluetooth implementations. In one a dedicated mobile phone acts as a server that interconnects multiple clients, while in the other point to point communication takes place between clients on an ad hoc basis. The paper summarises bluetooth tools designed for live performance realisation and concludes with a comparative evaluation of both scenarios for future implementation of performance by large ensembles of nonexpert players performing microtonal music using ubiquitous technology
Towards a Practitioner Model of Mobile Music
This practice-based research investigates the mobile paradigm in the context of
electronic music, sound and performance; it considers the idea of mobile as a lens
through which a new model of electronic music performance can be interrogated. This
research explores mobile media devices as tools and modes of artistic expression in
everyday contexts and situations. While many of the previous studies have tended to
focus upon the design and construction of new hardware and software systems, this
research puts performance practice at the centre of its analysis.
This research builds a methodological and practical framework that draws upon
theories of mobile-mediated aurality, rhetoric on the practice of walking, relational
aesthetics, and urban and natural environments as sites for musical performance. The
aim is to question the spaces commonly associated with electronic music – where it is
situated, listened to and experienced. This thesis concentrates on the creative use of
existing systems using generic mobile devices – smartphones, tablets and HD cameras
– and commercially available apps. It will describe the development, implementation
and evaluation of a self-contained performance system utilising digital signal
processing apps and the interconnectivity of an inter-app routing system. This is an
area of investigation that other research programmes have not addressed in any depth.
This research’s enquiries will be held in dynamic and often unpredictable
conditions, from navigating busy streets to the fold down shelf on the back of a train
seat, as a solo performer or larger groups of players, working with musicians, nonmusicians
and other participants. Along the way, it examines how ubiquitous mobile
technology and its total access might promote inclusivity and creativity through the
cultural adhesive of mobile media. This research aims to explore how being mobile
has unrealised potential to change the methods and experiences of making electronic
music, to generate a new kind of performer identity and as a consequence lead
towards a practitioner model of mobile music
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